This novel is an old-fashioned narrative, chronicling the lives of the Richardson family, set in Cumbria in the years 1947-54. It is a sequel to A Soldier's Return, but can be read alone. The story concentrates on how Sam Richardson faces up to civvy life after the savagery of war in the Burma campaign and how his wife Ellen and son Joe learn to communicate with him - and with each other. Sam is uneasy, turning his back on a chance to emigrate to Australia, out of loyalty to his wife's doubts, but wanting to improve their lives without getting "above themselves". His wife and child have endured the strains and terrors of his absence, forming alliances within the extended family and community; he feels left out of. The structural strength of the novel allows ample room to portray the family's progress, although the pace flags, as the book is too long. Apart from one black sheep, who is more weak than bad, this is an attractive family, full of compassion for others' misfortunes and aware of how lucky they are. If anything defines this as a period piece, it is the self-discipline of the characters, holding back from insult and self-destruction. Underlying this story is that familiar theme in English collective memory, possibly incomprehensible to outsiders, whereby the 1939-45 war honed the people to heroic stoicism and self-sacrifice. The town is full of the stock characters of any small community, but Melvyn Bragg is too experienced a hand to fall into the traps of cliche. Sam's encounter with his boss over a pay rise has a sly humour which unfortunately the author does not let rip more. The wordy prose at the beginning of the narrative slightly obscures the story and the stylistic repetition of phrases is an acquired taste. However, he does get into his stride and is excellent on boys' dreams and insecurities and the demons that apparently pursue all adolescents. The ordinary love story of Sam and Ellen has dignity and truth in every scene. The light and shade of characterizsation is handled with flair, and the authentic dialogue ranges from the minutiae of family life to the Bomb and welfare politics. Period detail stops the right side of sentimentality, whether describing in description of the exigencies of the outside lavatory or the innocence of popular entertainments. The scenes of a day-trip to Blackpool and of a cricket test match are wonderful.Olivia Hamilton is a teacher and editor.